Howard County Summer Theatre’s 50th annual
production is Fiddler on the Roof, and it is so spot-on, it is easy to
forget this is a community theatre presentation. Director Tom Sankey weaves a
gorgeous tapestry of talent, costuming, choreography, and lighting in guiding
the large cast (I stopped counting at 2 million) through a tightly, well-staged
version of the classic musical.
Combining the outstanding music with a blend of comedy and tears-provoking emotions, Fiddler on the Roof, if you haven’t seen it already, will touch your heart in multiple ways. It starts with the central character Tevye, who from the opening number, is consumed by his devotion to tradition.
If there ever was a character in theatre who one feels
compelled to root for, it has to be Tevye, the nearly impoverished milkman who
resides in Anatevka, a small village in Czarist Russia in 1905. His strong-willed wife has a sharp-tongue,
and he is struggling to house, feed and clothe his five daughters.
The three oldest of them eschew deeply ingrained Jewish
traditions to which Tevye so desperately tries to cling in favor of pursuing
lives of their own fueled by changing social mores. And on top of that, Tevye and his family as
well as the other Jews in Anatevka face constant anti-Semitism and intimidation
from Russia’s Czar.
This production has enough gusto and energy to light that village of Anatevka and perhaps some of Columbia’s villages as well.
Fiddler on the Roof, with its iconic score, opened in 1964 and became the longest running show on Broadway (over 3,000 performances) until it was eclipsed by Grease. It captured 9 Tony Awards of the 10 categories nominated including Best Musical, score, book, direction and choreography.Based on the Sholem Aleichem story Tevye and his
Daughters, the show was crafted
from music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph
Stein. A hit movie and countless productions worldwide were spawned by the
timeless musical.
Popular songs, such as “Tradition,” “Matchmaker,” ‘If I Were
a Rich Man,” “To Life” and “Do You Love Me” are performed expertly.
The central character, Tevye, who appears in most of the
scenes, requires a commanding presence and superior acting skills to include
appropriate facial expressions, stage movements, mannerisms and timing. He also needs to possess a rich and
authoritative baritone voice. John Bruns
checks every one of those boxes. On one hand he demonstrates comedic
instincts. On the other hand, he can
dance. And on the other hand, he talks directly to God. Mr. Bruns would have
made Zero Mostel—the original Tevye—proud of his work and would have applauded
him with both hands.
Mr. Bruns kicks off the production with a solid rendition of
“Tradition,” and you know you are in for a treat the rest of the way. He continues to soar in “If I Were a Rich
Man,” “Sabbath Prayer,” and in one of the more touching numbers, “Do You Love
Me?” with Rebecca Stryker as his wife Golde.
Demonstrating his acting dexterity, Mr. Bruns convincingly
and endearingly conveys his frustrations with his daughters Tzeitel, Hodel and
Chava. Each one of them pushes back on
Jewish traditions, deeply troubling Tevye, to pursue the men they love.
With Tzeitel it was Tevye’s breaking an agreement—convinced
by the protests
from Tzeitel (played nicely by Sarah Young)—with the much older
wealthy butcher Lazar Wolf, superbly played by Todd Hochkeppel. Lazar had been “matched” by Yente (Debbie
Mobley). But Tzeitel wanted to be with
and eventually marry the poor and timid tailor Motel (pronounced MAH-tel) with
Jed Silverman in the role.
Hodel, charmingly played by Naomi Abankwah, caused Tevye’s
blood pressure to rise as she rebuked tradition, too. She was not being formally “matched” and
instead found love with Perchik, a radical who thinks little of such
customs. Strong-headed Perchik is played
excellently by Justin Moe. Ms. Abankwah’s
rendition of “Far From the Home I Love” is moving, using her gorgeous soprano
voice to full effect.
For Chava (Libby Burgess), it was all Tevye could take. When analyzing each of the other two
daughter’s intentions, he reasoned, “On the one hand…but on the other hand…”
before he reached a decision. In Chava’s
case, “I have no other hand,” he concludes.
This is a result of her desire to be with Fyedka (Sam Bishop) who is not
Jewish. Tevye could not go along in this
case.
Then there is Golde, Tevye’s wife of 25 years. She provides comedic balance with her brusque
retorts to Tevye especially when the sacred traditions were being compromised. Rebecca
Stryker is exceptional in the role.
Golde succumbs to Tevye’s fake nightmare ruse in a stunning scene that
includes white-clad spirits from the otherworld that allowed her to be
convinced that Tzeitel should marry Motel.
Jed Silverman effectively portrays the poor tailor Motel in
need of a new sewing machine. Wimpy,
especially in front of Tevye, Motel calls up his latent inner strength to fight
for the woman he loves.
Todd Hochkeppel is perfectly cast as Lazar Wolf—that wealthy
but lonely butcher. Comedic in all his scenes, Mr. Hochkeppel is particularly
hilarious during Tzeitel and Motel’s wedding when he chastised Tevye for
breaking his agreement that would have allowed Tzeitel to marry him.
"...a tightly, well-staged version of the classic musical."
Debbie Mobley plays Yente to the hilt leading to amusing
exchanges. And although frequently
onstage or above (like on a roof) but not speaking a word, The Fiddler himself
is played by Michael Gbadamoshi.
Matt Cannon is effective in the role of Constable, an
underling of the anti-Semitic Czar but one who has compassion for the Jewish
community in the village. He ably
expresses his conflicting emotions between duty and his concern for Tevye and
his cohorts.
Other notable performances were turned in by Doug Kook as
The Rabbi and Luke Pinsky as Mendel, his son.
Lists of the entire cast and production team are shown at
the conclusion of the review.
At the end, the Czar ousts the Jewish residents from
Anatevka, and the family members go their separate ways in a melancholy conclusion.
As fascinating as the story is, the music, choreography and
staging excel. Other special songs like
“Sunrise, Sunset” and “Wedding Dance” add depth to a superb score. Orchestra Director Kevin George and the musicians
do a fine job with the wonderful score in backing up the vocalists, effectively
enhancing the singers’ robust performances.
Kassi Serafini directed the choreography, which was on
target with Jewish traditional and Russian Cossack dances. The entire ensemble executes these with
energy and precision and are wonderful in their vocals.
Kathy Bondura and her team designed extraordinary and
colorful period costumes. They truly
augmented the visual quality of the show as did the lighting sequences by Lucy
Lanthier, Em Muryhina and Olivia Rumsey. I particularly enjoyed the continual
changes in hues projected on the blank screen behind Tevye’s cabin.
Howard County
Summer Theatre and all who participated should be congratulated for taking
a classic show and maintaining its luster after six decades.
Anti-Semitism, a key component in Fiddler, is real.
Whether it occurred in 1905 Russia or 1939 Germany or 2026 worldwide, it is a
scourge that needs to be addressed. Anti-Semitism has surged globally and in
the U.S. fueled by social media, political polarization, generational shifts,
and conflicts involving Israel, resulting in increased violence and fear among
Jewish communities. This production is welcome not only for the entertainment
value it brings but also to raise awareness of anti-Semitism.
Running time. Two hours and 40 minutes with an intermission.
Show Dates & Times:
8 Performances Only
June 18, 20*, 24, 25*, 26, 27 @ 7 p.m.
June 21, 28 @ 2 p.m.
* ASL interpretation is available for this
performance
Venue: Marriotts Ridge High School, 12100
Woodford Dr., Marriottsville, MD 21104
Tickets: Tickets available at the door or online .
The proceeds of the production will benefit Luminus.
Photos: Neil Rubino
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